Diego Rivera Early life Diego Rivera was born in Guanajuato, Mexico to a well-known family. Diego had a twin brother his named was Carlos, he died two years after he was born. From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to continue to study in Europe by Teodoro A. Dehesa Méndez, the governor of the State of Veracruz. His mother was a Jew whose ancestors had been forced to convert to Catholicism.Speaking about himself, Rivera wrote in 1935: "My Jewishness is the dominant element in my life." After Rivera arrival in Europe in 1907, Rivera immediately went to study with Eduardo Chicharro in Madrid, Spain, and then went to Paris, France, to live and work with the great gathering of artists in Montparnasse, especially at La Ruche, where his friend Amedeo Modigliani painted his portrait in 1914. His circle of close friends, which included Ilya Ehrenburg, Chaim Soutine, Amedeo Modigliani and Modigliani's wife Jeanne Hébuterne, Max Jacob, gallery owner Léopold Zborowski, and Moise Kisling, was captured for posterity by Marie Vorobieff-Stebelska (Marevna) in her painting "Homage to Friends from Montparnasse" (1962). In those years, Paris was witnessing the beginning of cubism in paintings by such will know artists as Pablo Picasso and Georges Braque. From 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézanne's paintings, Rivera shifted toward Post-Impressionism with simple forms and large patches of vivid colors. His paintings began to attract attention, and he was able to display them at several exhibitions. Career in Mexico In 1920, urged by Alberto J. Pani, the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissancefrescoes. After José Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to become involved in the government sponsored Mexican mural program planned by Vasconcelos.See also//Mexican muralism//. The program included such Mexican artists as José Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, and the French artist Jean Charlot. In January 1922,he painted – experimentally in encaustic – his first significant mural Creation[9] in the Bolívar Auditorium of the National Preparatory School in Mexico City while guarding himself with a pistol against right-wing students. In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers, Painters and Sculptors, and later that year he joined the Mexican Communist Party[10] (including its Central Committee). His murals, subsequently painted in fresco only, dealt with Mexican society and reflected the country's 1910 Revolution. Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence clearly present in murals at the Secretariat of Public Education in Mexico Citybegun in September 1922, intended to consist of one hundred and twenty-four frescoes, and finished in 1928. Later Years In autumn of 1927, Rivera arrived in Moscow, accepting an invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in Russia, he met the visiting Alfred H. Barr, Jr., who would soon become Rivera's friend and patron, as well as the founding director of the Museum of Modern Art.[16] Rivera was commissioned to paint a mural for the Red Army Red Club in Moscow, but in 1928 he was ordered out by the authorities because of involvement in anti-Soviet politics, and he returned to Mexico. In 1929, Rivera was expelled from the Mexican Communist Party. His 1928 mural In the Arsenal was interpreted by some as evidence of Rivera's prior knowledge of the murder of Julio Antonio Mella allegedly by StalinistassassinVittorio Vidali. After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929. Also in 1929, the first English-language book on Rivera, American journalist Ernestine Evans's The Frescoes of Diego Rivera, was published in New york. In December, Rivera accepted a commission to paint murals in the Palace of Cortez in Cuernavaca from the American Ambassador to Mexico. In September 1930, Rivera accepted an invitation from architect Timothy L. Pflueger to paint for him in San Francisco. After arriving in November accompanied by Kahlo, Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500 and a fresco for the California School of Fine Art, later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute. Kahlo and Rivera worked and lived at the studio of Ralph Stackpole, who had suggested Rivera to Pflueger. Rivera met Helen Wills Moody, a famous tennis player, who modeled for his City Club mural. In November 1931, Rivera had a retrospective exhibition at the Museum of Modern Art in New York City. Kahlo was present at the opening of the New York MoMA show. Between 1932 and 1933, he completed a famous series of twenty-seven fresco panels entitled //Detroit Industry// on the walls of an inner court at the Detroit Institute of Arts. During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable."
Diego Rivera
Early life
Diego Rivera was born in Guanajuato, Mexico to a well-known family. Diego had a twin brother his named was Carlos, he died two years after he was born. From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to continue to study in Europe by Teodoro A. Dehesa Méndez, the governor of the State of Veracruz. His mother was a Jew whose ancestors had been forced to convert to Catholicism.Speaking about himself, Rivera wrote in 1935: "My Jewishness is the dominant element in my life."
After Rivera arrival in Europe in 1907, Rivera immediately went to study with Eduardo Chicharro in Madrid, Spain, and then went to Paris, France, to live and work with the great gathering of artists in Montparnasse, especially at La Ruche, where his friend Amedeo Modigliani painted his portrait in 1914. His circle of close friends, which included Ilya Ehrenburg, Chaim Soutine, Amedeo Modigliani and Modigliani's wife Jeanne Hébuterne, Max Jacob, gallery owner Léopold Zborowski, and Moise Kisling, was captured for posterity by Marie Vorobieff-Stebelska (Marevna) in her painting "Homage to Friends from Montparnasse" (1962).
In those years, Paris was witnessing the beginning of cubism in paintings by such will know artists as Pablo Picasso and Georges Braque. From 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézanne's paintings, Rivera shifted toward Post-Impressionism with simple forms and large patches of vivid colors. His paintings began to attract attention, and he was able to display them at several exhibitions.
Career in Mexico
In 1920, urged by Alberto J. Pani, the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissancefrescoes. After José Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to become involved in the government sponsored Mexican mural program planned by Vasconcelos.See also //Mexican muralism//. The program included such Mexican artists as José Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, and the French artist Jean Charlot. In January 1922,he painted – experimentally in encaustic – his first significant mural Creation[9] in the Bolívar Auditorium of the National Preparatory School in Mexico City while guarding himself with a pistol against right-wing students.
In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers, Painters and Sculptors, and later that year he joined the Mexican Communist Party[10] (including its Central Committee). His murals, subsequently painted in fresco only, dealt with Mexican society and reflected the country's 1910 Revolution. Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence clearly present in murals at the Secretariat of Public Education in Mexico Citybegun in September 1922, intended to consist of one hundred and twenty-four frescoes, and finished in 1928.
Later Years
In autumn of 1927, Rivera arrived in Moscow, accepting an invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in Russia, he met the visiting Alfred H. Barr, Jr., who would soon become Rivera's friend and patron, as well as the founding director of the Museum of Modern Art.[16] Rivera was commissioned to paint a mural for the Red Army Red Club in Moscow, but in 1928 he was ordered out by the authorities because of involvement in anti-Soviet politics, and he returned to Mexico. In 1929, Rivera was expelled from the Mexican Communist Party. His 1928 mural In the Arsenal was interpreted by some as evidence of Rivera's prior knowledge of the murder of Julio Antonio Mella allegedly by StalinistassassinVittorio Vidali. After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929. Also in 1929, the first English-language book on Rivera, American journalist Ernestine Evans's The Frescoes of Diego Rivera, was published in New york. In December, Rivera accepted a commission to paint murals in the Palace of Cortez in Cuernavaca from the American Ambassador to Mexico.
In September 1930, Rivera accepted an invitation from architect Timothy L. Pflueger to paint for him in San Francisco. After arriving in November accompanied by Kahlo, Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500 and a fresco for the California School of Fine Art, later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute. Kahlo and Rivera worked and lived at the studio of Ralph Stackpole, who had suggested Rivera to Pflueger. Rivera met Helen Wills Moody, a famous tennis player, who modeled for his City Club mural. In November 1931, Rivera had a retrospective exhibition at the Museum of Modern Art in New York City. Kahlo was present at the opening of the New York MoMA show. Between 1932 and 1933, he completed a famous series of twenty-seven fresco panels entitled //Detroit Industry// on the walls of an inner court at the Detroit Institute of Arts. During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable."